DOCUMENT RESUME

ED 072 997 SO 005 283

AUTHCR Dubocq, Edward R.TITLE Sculpture: Stone Shapes, Art: 6683.08.INSTITUTION Dade County Public Schools, Miami, Fla.PUB DATE 71NOTE 30p.; An Authorized Course of Instruction for the

Quinmester Program

EDRS PRICE MF-$0.65 HC-$3.29DESCRIPTORS *Art Education; Art Products; Behavioral Objectives;

Course Content; Course Objectives; CreativeExpression; Curriculum Guides; Learning Activities;Resource Guides; *Sculpture; S(r-indary Grades;Techniques; *Visual Arts

IDENTIFIERS Florida; *Quinmester Program

ABSTRACTThis elective course for grades 7-12 was created with

a three fold purpose: 1) to create in the student an awareness of theeffect of sculptural forms on his environment; 2) to introduce thestudent to an appreciation of stone sculpture; and 3) to furtherenhance the artistic abilities pf the student through sculpting instone. Course content includes an introduction, demonstration ofstudio procedures, demonstration of stone scnlpture techniques,studio work, aild critique. Some of the behavioral objectives are forthe student to be able to: 1) define vocabulary terms; 2) identifystone sculptors from past/present art movements; 3) create openand/or closed forms in stone; and 4) identify the qualities ofvarious types of carving stone. Course procedures, strategies, andsuggested learning activities are outlined, and resources forstudents and teachers are listed. (JLB)

FILMED FROM BEST AVAILABLE COPY

AUTHORIZED COURSE OF INSTRUCTION FOR THE U iI V i Vies,

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00--e-V)

SCULPTURE: STONE SHAPES

6683.08

Art Education

>

DIVISION OF INSTRUCTION1971

U S OEPARTMENT OF HEALTH.EOUCATION & WELFAREOFFICE OF EDUCATION

THIS 00CUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FRDMTHE PERSON OR ORGANIZATION ORIG!RATING IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILYREPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY

SCULPTURE: STONE SHAPES

(Tentative Course Outline)

ART: 6683.086681.076682.07

Written by Edward R. Dubocq

for the

DIVISION OF INSTRUCTIONDade County Public Schools

Miami, Florida1971

DADE COUNTY SCHOOL BOARD

Mr. William Lehman, ChairmanMr. G. Holmes Braddock, Vice - Chairman

Mrs. Ethel BeckhamMrs. Crutcher Harrison

Mrs. Anna Brener MeyersDr. Ben Sheppard

Mr. William H. Turner

Dr. E. L. Whigham, Superintendent of SchoolsDade County Public Schools

Miami, Florida 33132

Published by the Dade County School Board

Copies of this publication may be obtained through

Textbook Services2210 S. W. Third StreetMiami, Florida 33135

PREFACC

1J,Jrnn:: h.ls beer: referred to b' van contemporary et't,cators as a noun;i% vcrb ,..of..rience--:01 or ac' ;cat :;nd involvo,ont, dcin;:

;t lemu: :t should heand that Kinl of involved learning is :hattLls connc of stvy is all about:.

The Quinmester Visual Arts Education Curriculum construct is a long rangedevelop.-ental effort directed tviards providing a general education forlearn2ra in the aesthetically related art education field. To crTlishthis f,1,1_, Instructional couges of study have been dlvelenod 11::sic.:111v

by tc;icrs. Many Dade art specialists in various arcs mediahave bon reeruitd by the Art Office to write over 75 new and innovativeCOUTSCA of study in the area of art education. Educational speci;:listsfrom the four corners of this land, along with aestheticians, socialcritics, and behavioral scientists have hailed the philosophy of theoverall art curriculum construct undertaken by the Division of '1m:ructionto be conristent with the latest national trends in art education, and tobe an exemplary example of "success" oriented curricula designed to pro-vide intense involvement in aesthetics andcreative arts through group andindividualized participation on the part of the learner.

All courses of study produced have been constructed with one major goalin mind: to provide a broad framework of goals and objectives; content;instructional procedures and strategies; and suggested learning activi-ties. ?'any of the technically oriented courses of study 'list a varietyof "Work Sheets" designed to assist the learner with specific and highlytechnic,d studio procedures delineated in a manner so that art specialistr(teachers). can use them "as is," or utilize the source information as abasis for producing "Learning Activities Packages." The appendix mayinclude other pertinent material needed for today's contemporary art cur-riculum, e.g., vocabulary, resources for both learner and teacher, etc.

Constructive criticisms or recommendations relating to this publicationare invited; please send to: Art Education Office, Room 300, Lindsey Hop-kins, A-1.

Charles M. King, ConsultantArt Education

TABLE OF CONTENTS

Page

I. Course Title1

II. Course Number1

III. Rationale1

IV. Course Description2

A. Description

B. Textbooks

C. Vocational Scheme

D. Method (By week)

E. Synopsis

V. Enrollment Guidelines3

A. Prior Courses

B. Evaluative Device

C. Concurrent Programs

VI. Behavioral Objectives4

A. Competencies Expected

B. Conditions

C. Acceptable Preformance

VII. Course Content6

VIII. Course Procedures, Strategies, and SuggestedLearning Activities

7

A. Vocabulary List 7

B. Procedure 8

C. Supplies and Materials10

ii

Table of Contents (cont.)

Page

D. Studio Procedures 10

E. Hints for Instructors11

F. Work Sheets

Selection of Stone 13

Selection of Tools 15

Direct Carving Technique 16

Surface Treatment 19

Base Design and Creation 21

IX. Resources for Pupils 23

X. Resources for Instructors 24

A. Movies, Slides, etc.

B. Textbooks

iii

I. COURSE TITLE

SCULPTURE: STONE SHAPES

II. COURSE NUMBERS

ART: 6683.08

6681.07

6682.07

III. RATIONALE:

Sculpture: "Plastic or hard materials that have been welded,

carved, engraved, molded, or constructed into a primarily

three-dimensional work of art."

We are constantly surrounded by varying forms of sculpture in

our natural environment. "Sculpture" can entail any three

dimensional form around us, from a tree to a building. Sculp-

ture, in one way or another, effects every day of our lives;

be it through an object that is simply pleasing to the eye,

or the pure functionality of a unit of sculptured steel,

the modern automobile.

This course has been created with a threefold purpose: First,

to create in the student an awareness of the effect sculptural

forms have on his environment. Secondly, to introduce the

student to the area of stone sculpture appreciation; and,

thirdly, to further enhance the artist abilities of the student

through sculpting in stone.

1

IV. COURSE DESCRIPTION

A. Elective, grades 7-12, exploratory

B. Textbooks and other materials

Text materials, visuals, vocabulary lists, etc., may be

selected from examples listed in parts IX and X of this

Quinmester Course of Study, at the disgression of the

individual instructor. It is suggested that references

marked with an asterisk be kept on hand for student use

in the classroom.

C. Vocational scheme

To prepare the student for more advanced techniques and

courses in the area of sculptural art.

D. Method (by week)

1. Lecture and demonstrations

2. Studio procedure

a. Critique at the end of each week

b. Movies, lectures, resource materials

3. Studio work

4. Final critique, grading and clean up of studio area

E. Synopsis

NOTE: There are suggested presentation outlines for each

of the sub headings in this section. They are located

in part VIII.

1. Introduction

a. Movies, slides, visuals

b. History and appreciation

2

2. Techniques in stone sculpture

a. Selection of stone

b. Selection of tools

c. Direct carving technique

d. Surface treatment

e. Base design and creation

3. Critique and evaluation.

V. ENROLLMENT GUIDELINES

A. Prior courses

No prerequisites.

B. Evaluative device

Empirical testing should be followed.

C. Concurrent programs

There is no specific program that must be taken concurrently.

VI. BEHAVIORAL OBJECTIVES

A. Competencies expected upon completion of this unit.

The student will be able to

1. List correctly the procedures for the following stone

sculpture techniques:

a. Selection of stone

b. Selection of tools

c. Direct carving technique

d. Surface treatment

e. Base design and creation

2. Define, orally or in writing, related vocabulary terms

as listed in part VIII of this Quinmester Course of Study.

3. List and identify a minimum of four stone sculptors from

past and/or present art movements.

4. Demonstrate the correct care for and use of stone carving

tools and related equipment used in the quin.

5. Demonstrate the correct procedures for working in a stone

sculpting studio.

6. Create open and/or closed forms in stone.

7. Create and present for grade one sculptural example in

stone, using the direct carving method. (Sculpture is to

include a base.)

8. List and identify the qualities of various types of carving

stone (i.e. marble, serpentine, sandstone, etc.).

1

9. List the various types of surface treatment that may

be applied to stone sculpture (as listed in part VIII

of this Quinmester Course of Study).

10. List the correct procedures for design and creation

of a base for a stone sdulpture.

B. The student will demonstrate competencies under the fol-

lowing conditions:

1. Classroom demonstration

2. Classroom discussion

3. Individual research

4. Individual studio procedure

5. Group critique

6. Emperical testing

C. Acceptable performance will be determined by the individual

instructor on the basis of

1. Evaluation of classroom participation

2. Emperical testing

3. Required projects turned in for grade

4. Fulfillment of .10 performance objectives

5

VII. COURSE CONTENT

A. Introduction

1. Movies

2. Slides

3. Resource matt

4. Discussion

5. Lecture

B. Demonstration of studio procedures

1. Tools

2. Materials

3. Care and use of studio

C. Demonstration of stone sculpture techniques

1. Selection of stone

2. Selection of tools

3. Direct carving techniques

4. Surface treatment

5. Base design and creation

D. Studio work

1. Individual student assistance

2. Individual student critiques

E. Critique

1. Group

2. Individual

VIII. COURSE PROCEDURES, STRATEGIES, AND SUGGESTED LEARNING ACTIVITIES

A. Vocabulary list

1. Carborundum: A silicone carbide produced in an electric

furnace used as an abrasive material for polishing stone.

2. Chisel: A sharp edged or pointed tool, available in

various sizes and shapes, used primarily for carving

stone.

3. Closed form: A form being solid in appearance; having

no holes or caveties. A form that encloses space.

4. Direct carving: A process by which a subject is sculpted

directly from a solid piece of stone by cutting in from

the surface.

5. Igneous: Stone that is formed by the action of fire:

extremely hard.

6. Mallet: An instrument that is similar to a hammer--used

in striking a chisel to carve stone.

7. Media: Any substance used in the creation of stone sculp-

ture.

8. Metamorphic: Igneous and sedimentary stones that have

been altered physically by pressure, heat and chemical

action.

9. Open form: A form containing hollow areas, caveties, or

holes (as opposed to "closed" forms).

10. Pumice: A porous or spongy form of volcanic glass used

as an abrasive for polishing stone.

7

11. Rasp: A course toothed file used for surface treatment

on stone.

12. Riffler file: A file similar to a rasp, only smaller,

used to work areas where a rasp cannot reach.

13. Sculptor: One who sculpts, or creates sculpture.

14. Sculpture: Plastic or hard materials that have been

carved, engraved, molded, welded, or constructed into

a primarily three dimensional work of art.

15. Sedimentary: Formed by the action of water, or sediment.

Usually showing stratification (layering).

16. Studio: Any area designated for, or in which artistic

creation takes place.

17. Texture: The structure of the surface of a work of art.

18. Wet and dry: A sandpaper that may be used dry, or in

combination with water to polish stone.

B. Procedure

(Suggested instructor demonstration aid.)

The general procedures that apply to all forms of sculpture

will be discussed in this section. Individual procedures

for specific sculpture techniques will be listed on the work

sheets.

The primary guideline applying to all forms of sculpture is

good three-dimensional design. In sculpture, one must relate

his design to a free standing form that will be viewed from

all sides. One should keep this fact in mind when designing

8

his sketches or models. If a sculpture has been well

designed, it will be pleasing to the eye from any angle.

As in painting or collage, the design should be developed

through a series of thumbnail sketches or clay models.

Develop an idea of what you want your sculpture to look

like before you begin to carve. By doing this series

of quick "shape" or "form" models, one will discover

certain forms that appeal to his artistic style. In

some cases, the rough block of stone will suggest cer-

tain forma in itself.

Another factor to consider is the base, or stand, that

will support the finished sculpture. It is easy to

make the mistake of designing a base that detracts from

the visual effect of the sculpture. Remember that when

a base is used, it becomes a part of the sculpture.

It should relate to the sculpture and yet be subtle in

its relationship.

Finally, in creating your sculpture, try and have the

finished piece show "movement." A piece of sculpture

that appears to relate "movement" or "action" has

a much greater and more pleasing visual impact than one

that is stagnant or unmoving.

9

More specific steps in the creation of stone sculpture

are outlined in the work sheets included in this Course

of Study.

C. Supplies and materials needed

1. Stone (see work sheet)

2. Carving tools (see work sheet)

3. Wet/dry sandpaper (200-400 grit)

4. Sandbags

4. Oil drums

6. Water

7. Files

8. Rasps

9. Goggles

10. Pumic stone

11. Steel rod

12. Epoxy glue

13. Material for base (wood, stone, etc.)

14. Carborundum paper

15. Polishing wax (furniture or automobile type)

16. Polishing cloth

17. Polishing powders

D. Studio procedures for students

(This list may be duplicated and distributed to individual

students.)

1. Each student will be assigned an individual work and

10

storage area which he or she will be responsible for.

2. Carving tools will be distributed on a sign-out basis.

Students will be expected to demonstrate correct care

for and use of carving tools.

3. At no time will any student be allowed to use, touch,

or move another student's materials or project.

E. Hints for instructors

1. There are many visual aids available. Plan the ordering

of movies, slides, etc. well in advance.

2. Design the studio so that there is a specific area or

rack to store all supplies. This makes for an excel-

lent way of getting a quick check of materials at the

end of each period.

3. Assign monitor positions, on a rotating basis.

4. If tools are at a premium, have students sign them

out.

5. Have a monitor sweep the studio at the end of each

period.

6. Fifty gallon oil drums make excellent work tables for

students.

7. Prepare a one-foot-square by two or three inch thick

sandbag for each student, out of heavy duct canvas.

They make excellent supports while the sculpture is

being carved.

8. Make regular periodic checks of students carving tools

11

for sharpness. A dull carving tool will make carving

difficult and slow the students progress.

9. Require all students to wear goggles to protect their

eyes when carving, or watching others carve.

F. Work sheets

The following suggested work sheets have been designed as

IP

aids for the indicidual students. They may be duplicated

as-is and distributed to the students for reference, fol-

lowing the instructors demonstrations.

I. WORK SHEET--STONE SCULPTURE

Selection of Stone

There are numerous types of stone, all varying in color, texture,

hardness, and consistency. In this work sheet, several of the

more common types (many of which may be obtained locally and

cheaply), and their characteristics, will be discussed. The

final selection is up to the individual sculptor.

The following descriptions are applicable to most examples of

each type. There are always some individual pieces of stone that

may differ.

1. Marble (metamorphic)

a. Consistency: Medium hard to hard.

b. Color: Varying--cream, white, pink

c. Sculptability: Relatively easy to control. Minimal

amount of faults. (Many types available--Carrara

(Italy) is the best available.--Georgia marble is the most

obrainable at a low cost.)

2. Soapstone (talc, steatite) (Metamorphic)

a. Consistency: Soft, easily carved

b. Color: White-gray, green, brown

c. Sculptability: Easily carved, highly polishable, inexpen-

sive. Soap-like feel (thus the name soapstone). Less

colorful than marble, less durable.

13

ti

3. Serpentine

a. Consistency: Medium hard

b. Color: Varying shades of green

c. Sculptability: Unpredictable, contains many faults.

Highly polishable. May be obtained locally.

4. Granite (Igneous)

a. Consistency: Very hard, coarse grained

b. Color: Very light to black; speckled

c. Sculptability: Very hard (not recommended for beginners)

5. Sandstone (Sedimentary)

a. Consistency: Very hard

b. Color: Brown

c. Sculptability: Almost as hard as granite. Very similar in

structure

6. Slate (metamorphic)

a. Consistency: Soft

b. Color: Gray, green, brown

c. Sculptability: Easily carved, however, tends to split in

layers. Highly polishable with wax. May be obtained locally

Most of the above types of scone are available locally. Marble

and serpentine are the most applicable for this course.

14

WORK SHEET--STONE SCULPTURE

Selection of Tools

The following tools and equipment are considered necessary for

carving in stone:

1. Mallet: Striking mallets come in sizes from 1 to 2 1/2 lbs.

(A 2 lb. mallet would be the most practical for this unit.)

(Iron head)

2. Point: One carving point, having a carbide tip,--standard

size.

3. Claw: One four-pointed claw chisel (hardened steel)

4. Flat chisel: One (hardened steel)-11-U-11-

/5. Protective goggles: (or face mask)

6. Pumice stone

7. Assorted files and rasps: (hardened steel)

8. Wet/dry sandpaper: (assorted grits--to ".400")

9. Carborundum paper

10. Polishing powder

11. Wax: Furniture or automobile type

12. Polishing rags: Preferably cotton

1

NOTE: There is an almost unlimited variety of points, claws, and

chisels available. Those suggested in this work sheet are

minimal, yet sufficient in number to carve in stone.

(Some of the above materials may be supplied by your instructor.)

15

WORK SHEET--STONE SCULPTURE

Direct Carving Techniu

It is best to begin by doing a series of thumbnail sketches.

This course is concerned with "Sculpture in the Round." That is,

sculpture that may be viewed from all sides. Work up sketches

of the shape you wish to carve, doing views from different angles.

(Some pieces of stone actually suggest shapes from within.)

Once you have decided upon the shape, or see a shape in the stone,

you are ready to begin.

Check the stone for faults. They may appear as hairline cracks or

dark streaks on the surface. (Wetting the stone may make it

easier to see these faults.) If you should discover a fault, try

and design your sculpture to work around it or carve it away. It

will help to avoid a possible disappointing split in the stone later.

Set the stone down firmly on a sandbag. Using the point and mallet,

experiment on the surface of the stone. (Are you wearing protective

goggles?) The point should be held at between a 45 and 90 degree

angle from the surface of the stone.

Get the "feel" of the material and the tools. Different types

and pieces of stone vary greatly in their composition. Observe

how the stone breaks off, or chips. Once you have a good idea of

what the stone is like, you are ready to begin.

Some sculptors draw on the stone to help control the carving. If

16

this works for you it would be to your advantage to do so.

When you begin to carve, the best way to approach the piece is

to carve from all sides, rather than concentrating on one specific

side or area. This will help control your proportion.

Do not try to rush the carving. Stone sculpting is a deliberate

process and cannot be hurried. Remember, once you cut a piece

of stone away, you cannot put it back.

Continue to carve the stone with the point, until you are approxi-

mately 1/2 inch from the finished surface in all areas. You may

then proceed to carve using the claw.

The claw is the first step in finishing. It creates a criss-crossed

pattern in the stone which is smoother than the surface texture

created with the point. (Should you be using a textured surface,

there may be areas you wish to leave with point texture alone,

or you may want to leave claw texture in certain areas.)

Once you have finished with the claw you are ready to repeat the

process using the chisel. With the chisel, the surface can be

smoothed to the final stage in carving. Once this step is completed,

you are ready to move on to the work sheet on surface treatment.

Suggestions

1. At all times, tools must be kept sharp. Use a gridstone--

without oil. (Oil tends to leave stains in the stone.)

2. When carving, always wear protective goggles.

17

3. If you encounter a vein in the stone, carve carefully.

The vein itself will usually be harder than the surrounding

stone. It is better to leave the vein as a small ridge

(which can be filed down later) than to try and carve it

away with the point or claw. (Carving may cause grooves

on either side of the vein.)

4. Remember to work slowly, and carefully. Mistakes are

hard to cover up or hide.

Good luck:

18

WORK SHEET--STONE SCULPTURE

Surface Treatment

Materials

1. Carving tools 5. Carborundum paper

2. Files and rasps 6. Polishing powder

3. Pumice 7. Wax

4. Wet/dry sandpapers 8. Buffing rags

Procedure

There are two basic types of surface treatment. One is a

rough, tooled surface; the other, rubbed and polished.

Texture may play a very important part in your sculpture.

You will find artists who give strong arguments for both

types of finishing. A well rubbed, highly polished surface

will bring out all of the 3rain patterns and color hues in

the stone. This process is very effective on hard stone

such as marble or serpentine.

On the other hand the play of various textures against each

other can also give very dramatic effects to the stone. No

two artists will sculpt a piece of stone the same way. Each

sculptor'a hand tooled marks act almost as a signature does on

a painting; identifying the artist with the work.

The final decision as to which type of surface treatment is

to be used, rests with the individual artist. The two processes

are accomplished as follows:

19

A. Tooled (textured) surface treatment

A textured surface is one which is left in a rough state.

The actual chisel marks used in carving are allowed to

remain visible on the surface. The degree of texture

depends on how fine the tools, which are used to carve,

are. Use of the point alone will result in a very rough

surface texture. If the sculptor works all the way

down to the claws or riffler files, a much smoother texture

will result.

B. Rubbing and polishing

1. This process begins once the sculptor has carved the

stone to its smoothest state with chisels and files.

2. The next step is to rub the stone with pumice or other

polishing stones. This will bring the surface to a

higher degree of smoothness.

3. The stone is then rubbed with wet/dry sandpaper. It

is advisable to use water in this step, to keep the

stone and the paper clean and abrasive.--Work down to

00 grit.

4. Rub the stone with polishing powder, available from

your instructor.

5. Wash the stone thorougly and allow to dry.

6, Apply a final coat of automobile or furniture polish.

7. Buff to a high sheen.

--You are now ready to mount the sculpture.

20

WORK SHEET--STONE SCULPTURE

Base Design and Creation

Most sculpture is created either free standing, or mounted on a

separate base. If your sculpture is of the second type, here are

some guidelines in the creation of a suitable base.

Design

A base should be designed to compliment the sculpture for which

it is made. The design should be simple and direct. Keep in

mind that the base should not detract from the visual impact of

the sculpture itself.

Some sculptors hnve a base in mind as early as when they are

still'carving the sculpture. However, the artist must remember

that the base is designed to fit the sculpture; not the other

way around.

Simplicity is the key word in the disign of a bood base.

Media compatability

The next step in creating your base is to select the material

from which it is made.

Basically, it is a matter of individual taste as to which material

should be selected. As you have already selected a design, the

next step is to decide upon a color and texture. For example;

a smoothe marble base is generally a cream color. Some types

of marble have pink or gray hues. Certain types of stone may

not look too pleasing on such a base--for example; serpentine,

which is green.

21

A metal base often works well, for it may be painted any

number of colors. There are also many types of wood that can

be used effectively.

As you can see, it would be up to the individual artist as

to what material to use. Let your artistic knowledge of

color and design be your guide.

Texture

Again, we arc in the realm of individual taste. Do not limit

yourself to just a smooth texture. Experiment with several.

You may find your sculpture stands out better against a

rough or primitive style base.

Mounting

There are basically two ways in which a sculpture may be

mounted.

1. Attaching the sculpture directly to the base with an

epoxy-type of glue.

2. Mounting the sculpture in a raised position on wood or

metal dowels, also using an epoxy glue.

--Experiment with both methods before making tho mount

permanent.

22

1 IX. RESOURCES FOR PUPILS

Baldwin, John, Contemporary Sculpture Techniques. Reinhold,1967.

*Clarke, Geoffrey, A Sculptors Manual. Reinhold, 1968.

Craven, Wayne, Sculpture in America. Crowell, 1968.

Gardner, Albert T., American Sculpture. N.Y.G.S., 1965.

Giedion, Welcker, Contemporary Sculpture. Third edition,Wittenborn, 1961.

Hanfman, George M., Classical Sculpture. Volumn 1, N.Y.G.S.,1967.

*Jansen, History of Art. Prentice Hall, 1962.

*Meilach, Dona Z., Creative Carving. Reilley and Lee, 1969.

*Mills, John W., The Technique of Sculpture. Reinhold, 1967.

Moore, Henry, Sculpture and Drawings. Volumn 3 (1955064),Wittenborn, 1965.

Reed, Sir Herbert, Concise History of Modern Sculpture.Praeger, 1964.

*Reed, Sir Herbert, Form Space and Vision. Graham Collier,1967. (State adoped text)

*Indicates texts that should be kept on hand for use in the

classroom.

23

X. RESOURCES FOR INSTRUCTORS

NOTE: Resources marked:with an asterisk have been selected

as most effective during previewing.

A. Movies, slides (Available through Dade County B.P.I.- -

Instructional Materials Division)

Beauty in Stone (Filmstrip) 10'C JS Wayne Univ.1-04130

Living Stone (Filmstrip) 33'C EJS NFB--Canada1-31155

New Directions in Three Dimensions (1-20) C EJS(slides) 5-20031

New Dimensions in Three Dimensions (21-40) C EJS(slides) 5-20036

Nineteenth Century Sculpture C JST (slides)5-20158

Twentieth Century Sculpture C JST (slides)5-20159

B. Textbooks

Clarke, Geoffrey, A Sculptor's Manual. Reinhold, 1968.

Jansen, History of Art. Prentice Hall, 1962.

Meilach, Dona Z., Creative Carving. Reilley and Lee,1967.

Mills, John W., The Technique of Sculpture. Reinhold,1967.

Reed, Sir Herbert, Form Space and Vision. Graham Collier,1967. (State adopted text)

END

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